Page images
PDF
EPUB
[ocr errors]

1819.

118. Gnaphalium plantagineum, form our G. Disynanthus.

134. Why admit yet Crotonopsis ! and Oryzopsis; instead of Leptemon and Di

119. Many sp. of Conyza belong to the lepyrum? substituted by Rafinesque. G. Gynema, Fl. Lud.

120. The sub-genus Chrysopsis, N., (Inula, L. and Aster, L.) was named Diplogon in Fl. Missurica, and adopted by us as a N. G.; that name is preferable, since some species have white flowers!

121. Most of the sp. of G. Senecio belong to the G. Jacobea: the S. hieracifolies must form a sub-genus Ptileris.

M.

135. Why change Purshia into Ptilophyllum?

136. Carya, N., was named Hicorius, by Raf. in 1808; in 1817, no notice is taken of it. Carya is inadmissible, being a radical Greek name, contained in Caryocar, Eucarya, Tricharia, &c.

137. Iatropha stimulosa is Bivonca, N. G. Raf. Mirr. Sc. 1814.

138. Maclura, N., has been described by us under the anterior and better name of Ioxylon, which must be retained. Two

122. Starkea-pinnata belongs to the genus Sideranthus of Fraser, unnoticed by Nuttall. 123. Phaethusa, read Phaethusia; for fossil substances have lately received the Tetragonotheca, insert Gonotheca.

124. Leptopoda, N., is a wrong name; there is already a genus of fish of the same name. Leptophora must be sub

stituted.

125. Balduina, N., is in the same case; we have proposed a genus of that name already. Nuttall's genus must receive the new denomination of Endorima.

126. The natural group proposed un-. der the name of Galardiae, must be styled Helenides, from Helemium, the oldest and most euphonous name.

127. Rudbeckia columnaris is the type of our genus Ratibida; R. purpurea, of our G. Lepachis: many other genera are blended with Rudbeckia.

128. Actinomeris, N., ought to be shortened into Actimeris, so as to preclude any collision with Actinia.

129. Listera convallarioides, is probably the G. Diphryllum of Raf. in Med. Rep. The sub-genus Microstylis is certainly his G. Achroanthes.

name of Maclurite, a shell and a mineral; this last will probably retain the denomination, being more appropriate to the pursuits of Mr. Maclure.

139. Sheperdia, N., was proposed by us under the better and anterior name of Lepargyrea; and the gardener Sheperd does not deserve the dedication of a genus, by all accounts.

140. Udora, N., (Elodea, Mx.) was named by us Philotria, a good significant name: we do not know what Udoza

means.

141. To the unlucky names of Struthiopteris, Scolopendrium, and Pteris, we have substituted, long ago, Pterilis, Glossopteris, and Phyllitis.

142. Myosotis scabra, N., app. appears to be our Lithospermum tenellum, discovered in New-Jersey in 1803.

We have now concluded this elaborate survey of Mr. Nuttall's labours. We feel an uncommon satisfaction in having perceived that so much has been added by that worthy botanist, to our former knowledge of our genera and species, while we regret that he has (through oversight pro

130. Tipularia, N., is inadmissible, being derived from Tipula. We shall substitute the name of Anthericlis. 131. Cypripedium arietinum, is our G. bably) left us so much to do yet. We Criosanthes.

132. Aristolochia sipho, must form a peculiar genus, with all the sp. having an unlabiate flower: we shall call it Isotrema, meaning equal opening.

133. The extensive genus Carex, must at least be divided, all the species having three stigmas, will form our G. Triplima.

advise every botanist that may attempt to follow his steps, to be very careful, lest they should fall into the same mistakes and inaccuracies which we have been compelled to correct. If they take the trouble of comparing attentively his labours, with those already published or announced by all the American and Eu.

ropean botanists, they will probably detect a great number more, which have escaped our attention, or which we have been obliged to omit, for sake of brevity. We repeat that we lay claim to all the improvements and names which we have now, and at various former periods, proposed and published. We do not compel any one to adopt them; when they do not, they prove merely their want of judgment and liberality; but when they may become convinced of the necessity of their adoption, let them give us the credit to which we consider ourselves entitled; if they should not, and should endeavour to conceal them under different names, they must abide by the consequences of such

an unwarrantable conduct; and we shall at all times deem ourselves at liberty to stigmatise their proceedings with the appellations that they will deserve.

We understand that Mr. Nuttall is now engaged in exploring some of our western regions, particularly the Arkanzas river, for botanical researches, in which undertaking we heartily wish him all the success imaginable. We have no doubt that he will continue to increase our knowledge of plants, and if he should, in some future work acknowledge and correct the errors which we have pointed out in this, we shall then consider bis ingenuousness equal to his knowledge.

C. S. R

ART. 4.

Musica Sacra: or, Springfield and Utica Collections united: consisting of Psalm and Hymn Tunes, Anthems and Chants; arranged for two, three, or four Voices, with a Figured Base for the Organ or Piano Forte. By THOMAS HASTINGS and SOLOMON WARRINER. 8vo. pp. 276. Utica. William Williams. 1818. The Musical Reader, or, Practical Lessons for the Voice; consisting of Phrases Sections, Periods, and entire movements of Melody in Score. To which are prefixed, the Rudiments of Music. Compiled principally for the use of Schools, by one of the Editors of the "Musica Sacra." 8vo. pp. 80. Utica. William Williams. 1818.

T

HE design of the "Musical Reader" is sufficiently apparent from its title. Although principally intended as an introduction to the "Musica Sacra," it is also bound in a separate form, for the accommodation of schools and singing societies at large. The practical lessons, which constitute three-fourths of the work, are judiciously selected, and arranged in such a manner as to conduct the learner, by progressive steps, from the simplest intervals of melody, through all the varieties of time and modulation, to those refinements in vocal execution which complete the education of the choral performer. These lessons are interspersed with entire pieces of harmony, chiefly selected from the best authors, which correspond in difficulty to the progress made by the learner, and exemplify successively whatever is requisite to the correct and expressive performance of

sacred music. The plan of instruction unfolded in the Musical Reader is in some respects new; and we think it decidedly preferable to that generally adopted by our musical teachers and compilers, in which, after a few lessons for tuning the voice, the beginner is immediately carried forward to a promiscuous collection of psalmody. In this way he prematurely fancies himself an adept in musical notation; the idea of returning to his rudiments becomes irksome; and if he does not continue ever after in that stage of musical childhood which requires the aid of leading strings, and can make its way over a page only by spelling half the words, he at least remains ignorant of those nicer details, to the knowledge of which music owes its highest effects. Considering how large a portion of the community prize this art as the source of some of their most innocent and refined plea

sures, and its importance as an auxiliary to public and private devotion, the prevalent neglect of musical rudiments is too serious an evil to pass unnoticed. It places the most refined productions of foreign composers beyond the reach of our vocal performers; it impairs the style in which the rest is executed; and it occasions a totally unnecessary waste of time. As our singing societies are now generally managed, every new tune, if at all difficult, is either learned by rote from the leader, or is decyphered at the expense of much time and labour. A fifth part of the time frequently employed in this way, if judiciously directed to the elements of musical notation, would ena ble the performer to read music at sight.

of musical notation. These, as the work. is not designed to supersede oral instruction, are given with brevity; yet, in ge neral, with sufficient clearness to be intelligible without such instruction. As it is intended for the use of those who are merely desirous to qualify themselves for the correct performance of sacred music, it cannot be expected to contain a complete account of the subject. We are not so unreasonable as to look for any thing more, in a publication of this nature, than corresponds with its original design; yet there are several particulars in which we think, that without any sensible addition to its bulk, it is susceptible of considerable improvement; and we suggest them chiefly with the hope that a work which is to circulate as extensively as we trust this will, may be rendered as complete as possible in a future edition.

Mr. Hastings does not profess to have discovered any royal road to the art of singing. He makes no pretensions to the secret of those notable handicrafts-men, who manufacture finished French scholars in thirty lessons-turn off fifty-two sets of well-made penmen in a year-and want but a process of six months standing to produce complete proficients in all the arts and sciences. Far humbler than these are the claims of our author. On the contrary, it is the object of his lessons to keep the young musician in the attitude of a learner much longer than has been generally done. At the same time, he is willing to indulge the impatience which learners naturally feel to become performers, and to relieve the tedium of a dry series of lessons, in themselves unmeaning, by an occasional movement of harmony, adapted to their proficiency. We do not mean to imply that in all this there is any thing very original, or any thing which would not naturally enough occur to a person of ordinary experience and reflection. An analogous system has been long in use for teaching music on keyed instruments. We only wonder that the same plan has not been applied more effectually to the teaching of vocal music; and that a work as well adapted to the object as Mr. Hastings' has not earlier appeared. To the lessons, are prefixed rudiments are continued unchanged. It is impossi

The subject of modulation is not treated sufficiently at length, and, we fear, in some respects, not with sufficient distinctness. In the practice of singing by note, the names become so closely associated with the degrees which they denote, that when accidental sharps or flats occur in the course of a strain, it becomes indispensable that the names should be changed, in order that such sharps or flats may be correctly sounded. If, for example, in a strain on the natural key, major, a sharp occurs on the 4th above the key-note, the key now becomes that of one sharp, the key-note is a 5th higher than before, and the note before called sol, now becomes faw. If the names are not shifted, it will be just as difficult to change the key with the voice, as to perform a piece which is wholly set to the key of one sharp, when the key-note is called sol, the note below it faw, &c. Let any one who wishes to be satisfied of this, take a melody to the sounds of which he has not been familiarized, and attempt to sing it by shifting the names so as to make the key-note sol, or mi. He will soon find himself involved in inextricable confusion. The difficulty is precisely the same in singing modulated passages of any length, if the names

ble to sing correctly a modulated passage which is at all protracted, (especially if the key and mode are both changed toge ther, or if digressions to more than one related key take place before the principal one is resumed,) without knowing the key-note of that passage, and referring the other notes to it as a standard. But if the names are not so arranged as to make faw the key-note when the mode is major, and law when it is minor, it will be equally difficult to retain any distinct impression of the key.*

The necessity of a change of names being acknowledged by all who understand the subject, it becomes important that a uniform method of doing it should be universally adopted. Two methods have been recommended by the most intelligent compilers of rudiments in this country, which in some respects differ. Holyoke and Hill, among others, treat a change of key by accidentals precisely as if the new key were the original one; or as if it were expressly denoted by a new signature. However transient the modulation, they would call the new key-note, if of the major mode, faw, and if of the minor, law; and shift in a corresponding manner all the other names of the scale. They even require this change to be

For this reason, among others, we are decidedly of opinion that the new musical notation introduced by Mr. A. Law, and partly copied by Little and Smith, can never come into general use. That it affords some facilities for the acquisition of the plainest psalmody is admitted; although its relative simplicity is much overrated by its author. But by furnishing distinct characters for the several names of the notes, it creates a still stronger association, if possible, between the names and the intervals, than the common notation, while it makes no provision for any change in them when a modulation occurs; and, indeed, (at least when lines and spaces are dispensed with,) scarcely admits of any such provision. How, for example, would Mr. Law indicate a modulation to the second ascending or descending? If the new key-note is denoted by his character for fan, without which the passage could not be correctly per formed, nothing would remain, in his system of notation, to indicate even the existence of a digression from the original key. Much as we respect the motives which have actuated the excrtions of this gentleman, we are fully convinced that they have been directed to the support of a system which is natenable, and must scon share

the fate of most innovations.

made by all the parts, although no accidental should occur in more than one of them. Another method, which we have occasionally seen recommended, and which is adopted by Mr. H., without changing the whole scale, merely calls a flatted note faw; and in case of a sharped note, changes the end of its name into i, in imitation of the syllable mi. Thus an accidentally sharped faw is to be called fi, a sharped sol, si, &c. Mr. H. recommends in general terms the other method in certain instances; but declines entering into it "with minuteness," on the ground that it "would be a work of much time, labour, and difficulty," and that "a perfect knowledge of modulation is not requisite to a mere performer." We infer from what he remarks in another place, (p. 8.) that he considers the explanation of this subject as most properly left to the instructer. Here we think Mr. H.'s work somewhat deficient. Not to insist on what we fear is the fact, that many of our "instructers" need instructing on this subject, the ablest instructions will not supersede the necessity of a more definite and complete series of written directions than our author has furnished. He has, indeed, recommended that the names of the whole scale should sometimes be changed; but has given no directions by which these cases may be readily distinguished; nor (which we think the principal defect) has he given any examples in his Lessons by which the habit of making these changes may be acquired. He has, indeed, introduced two or three specimens of composition which afford a considerable variety of modulations; but this variety should have been made greater, and in all cases, the place of the new key, together with the new name of the first note in that key, should have been written over the stave. Mr. H. seems to us to have overrated the difficulty of this subject. So far as it is necessary to the perusal of any sacred music which has been published in this country, even to the oratorios of Handel and Haydn, it appears capable of being reduced to a few simple cases. The fol

lowing paragraphs, we apprehend, would place it in a clear and definite point of view, if they could be accompanied by proper examples.

The last of the two methods above mentioned we would adopt in the three following cases:

1. When the modulation is momentary, or but a single note is flatted or sharped. Almost all the modulations in plain psalm tunes are of this character; and the change of faw into fi, and mi into faw, without changing the other names, and without making any change whatever in the parts which contain no accidental, is equally effectual, and far less perplexing to the beginner, than a transposition of the whole scale.

2. In chromatic modulations, (where one or more of the parts regularly ascends or descends by semitones,) as the key is continually changing, this method will be found the only advantageous, if not the only practicable one.

3. The 6th and 7th ascending, in the minor mode, are best sharped in this way. If these notes be not called fi and si, the names can be changed only by consider ing them as forming a part of the major scale, and calling the four upper notes sol, law, mi, faw; the inconveniences of which will be obvious on the least reflection. Under this head are to be included those modulations to the relative minor mode a 3d below, which so frequently occur in major-keyed music, and are produced by sharping the sol a 5th above the key-note.

In all cases except these three, we think it decidedly best, (and in most others indispensable,) to transpose the names of the whole scale. These cases are the following:

1. When a sharp occurs on faw, a 4th above the key-note of the major mode, (or a 6th above that of the minor,) the key is raised a 5th; the sharped faw is to be called mi, and the names of all the other degrees changed accordingly.

[ocr errors]

2. When a flat occurs on mi, the second below the key-note of the major mode, (or the second above that of the mi

nor,) the key is depressed a 5th, or what is the same, raised a 4th; the flatted mi is to be called faw, and the names of all the other degrees changed accordingly.

These two changes, with the exception of transitions to the relative major or minor mode mentioned above, occur much more frequently than all others. Whenever one of them takes place, the other must follow it, to restore the original key.

3. When the sharp of the 1st case, major mode, is attended by a sharp on the 2d above the key-note, the key becomes the 3d above, minor mode; and the last-mentioned sharp is the sharp 7th of the new key. The change of names

is the same as in case 1st.

4. When the flat of the 28 case, major mode, is accompanied by a sharp on the key-note, the key becomes the 2d above, minor mode, and the last-mentioned sharp, the sharp 7th of the new key. The change of names is the same as in case 2d.

5. When the sharp of the 1st case, major mode, is accompanied by a sharp on the key-note, the key is raised a second; the sharped faw must be called mi, and the names of the other degrees changed accordingly.

6. When the flat of the 2d case, major mode, is accompanied by a flat on the 3d above the key-note, the key becomes the second below, the flatted mi must be called faw, and the names of the other degrees changed.

The two last modulations seldom occur. They are most frequently produced by a successive application of the two accidentals, or by modulating to the 5th above or the 5th below twice in succession. In a very few cases, the mode, as well as the key, will be found changed; producing, in the former case, a minor passage on the 2d below, and in the latter, a minor passage on the 5th above. Of the latter, an example may be seen in the Lock Hosp.. Col. p. 162., at the words, "With various ills," &c.

7. When three sharps are added to the minor mode descending, or a single sharp

« ՆախորդըՇարունակել »